Ida Rubinstein
Sunday, February 15, 2026
Barbican Hall, London
Stravinsky’s score for the ballet Le baiser de la fée (The Fairy’s Kiss; 1928, Paris; Ballets Russes) – based on Hans Christian Andersen’s story The Ice-Maiden – for prima ballerina Ida Rubinstein pays tribute to Tchaikovsky and uses some of his songs and piano pieces. The ‘Divertimento’ that Stravinsky made from the complete work is pastorally expressive, LSO woodwinds in top form, the whole ensemble strutting and sentimentalising as required, individual solo appearances as part of a colourful mosaic seized upon with relish, Gianandrea Noseda finding charm, impetuosity and vividness, characters and action brought to life with incisiveness and sensitivity, if a little forceful at times. Curtain calls for principal cello, clarinet, horn, and others.
Following the interval, Borodin’s marvellous Second Symphony, rather brutal if exciting from Noseda, the first movement pulled around unconvincingly, the Scherzo more cohesive, if with Rite-related timpani shots. Following which the slow movement was eloquent and climactically impassioned although a little heavy-handed, and if the Finale was well-prepared for, it was more wham-bam than festive, however brilliantly played.
For Chopin’s Concerto centrepiece Noseda and the LSO conjured a romantic scene with much personality allowing Seong-Jin Cho all the space and reliance he needed (nice cameos from bassoonist Rachel Gough) to convey his magical touch, muscle (when required), flexibility and musing, enchantingly dreamy in the slow movement (stormy middle section aside), and delightfully lilting and shapely in the Finale. For an encore a Chopin Waltz, Opus 70/2, its wistfulness deeply considered by the fabulous artist that Cho is.